OF
DAVID
COPPERFIELD.
25
I
couldn
't
help it.
"
-Dead,
Mr.
Peggotty
?
"
I
hinted, after another
respectful silence.
"
Drowndead," said Mr. Peggotty.
I
felt the difficulty of resuming the subject, but had not got to the
bottom of it yet, and must get to the bottom somehow.
So
I
said
:
"
Havn 't you
any
children, Mr. Peggotty
?
"
"
No, master," he answered with a short laugh.
"
I
'm a bacheldore."
"
A
bachelor
!
"
I
said, astonished.
"
Why, who 's that, Mr. Peg-
gotty
?
"
Pointing to the person in the apron who was knitting.
"
That's Missis Gummidge," said Mr. Peggotty.
"
Gummidge, Mr. Peggotty
?"
But at this point Peggotty-I mean my own peculiar Peggotty-
made such impressive motions to me not to ask any more questions,
that
I
could only sit and look at all the silent company, until it
was
time to go to bed. Then, in the privacy of my own little cabin,
she informed me that Ham and Em'ly were an orphan nephew and
niece, whom my host had at different times adopted in their child-
hood, when they were left destitute
;
and that Mrs. Gummidge was
the widow of his partner in a boat, who had died very poor.
EIe
was but a poor man
himself, said Peggotty, but as good as gold
and as true as steel-those were her similies. The only subject, she
informed me, on which he ever showed a violent temper or swore an
oath, was this generosity of his; and if it were ever referred to, by any
one of them, he struck the table a heavy blow with his right hand (had
split
it
on one such occasion), and swore a dreadful oath that he would
be
'
Gormed'
if
he didn't cut and run for good, if it was ever men-
tioned again.
It
appeared, in answer to my inquiries, that nobody
had the least idea of the etymology of this terrible verb passive to be
gormed; but that they
all
regarded
it
as constituting a most solemn
imprecation.
I
was very sensible of my entertainer's goodness, and listened to the
women's going to bed in another little crib like mine at the opposite end
of the boat, and to him and Ham hanging up two hammocks for themselves
on the hooks
I
had noticed in the roof, in
a
very luxurious state of
mind, enhanced by my being sleepy. As slumber gradually stole upon
me,
I
heard the wind howling out at sea and coming on across the flat so
fiercely, that
I
had a lazy apprehension of the great deep rising
in
the
night. But
I
bethought myself that
I
was in a boat, after all; and that a
man like Mr. Peggotty was not a bad person to have on board if anything
did happen.
Nothing happened, however, worse than morning. Almost as soon as it
shone upon the oyster-shell frame of my mirror
I
was out of bed, and out
with little Em'ly, picking up stones upon the beach.
"
You're quite a sailor,
I
suppose
?
"
I
said to Em'ly.
I
don't know
that
I
supposed any thing of the kind, but
I
felt it an act of gallantry to
say something; and a shining sail close to us made such a pretty little
image of itself, at the moment,
in
her bright eye, that it came into my head
to say this.
"
No," replied Em'ly, shaking her head,
"
I'm afraid of the sea."
26
THE
PERSONAL
HISTORY
AND
EXPERIENCE
"Afraid
!"
I
said, with a becoming
air
of boldness, and looking very
big at the mighty ocean.
"I
a'nt
!
"
"Ah
!
but it's cruel," said Em'ly.
"
I
have seen it very cruel to some
of our men.
I
have seen it tear a boat as big as our house, all to pieces."
"I
hope it was'nt the boat that
-"
"
That father was drownded in
?"
said Em'ly.
"
No. Not that one,
I
never see that boat."
"
Nor him
?"
I
asked her.
Little Em'ly shook her head.
"
Not to remember
!
"
Here was a coincidence
!
I
immediately went into an explanation how
I
had never seen my own father; and how my mother and
I
had always
lived by ourselves in the happiest state imaginable, and lived so then, and
always meant to live so
;
and how my father's grave was in the churchyard
near our house, and shaded by a tree, beneath the boughs of which
I
had walked and heard the birds sing many a pleasant morning. But
there were some
differences between Em'ly's orphanhood and mine, it ap-
peared. She had lost her mother before her father; and where her father's
grave was no one knew, except that it was somewhere in the depths of the
sea.
"Besides," said Em'ly, as she looked about for shells and pebbles,
"
your father was a gentleman and your mother is a lady; and my father
was a fisherman and my mother was a fisherman's daughter, and my uncle
Dan is a fisherman.
"
Dan is Mr. Peggotty, is he
?
"
said
I.
"
Uncle Dan-yonder," answered Em'ly, nodding at the boat-house.
"Yes.
I
mean him. He must be very good,
I
should think?
"
"
Good?
"
said Em'ly.
"
If
I
was ever to be a lady,
I
'd give him a
sky-blue coat with diamond buttons, nankeen trousers, a red velvet
waistcoat, a cocked hat, a large gold watch, a silver pipe, and a box of
money
."
I
said
I
had no doubt that Mr. Peggotty well deserved these treasures.
I
must acknowledge that
I
felt it difficult to picture him quite at his ease
in the raiment proposed for him by his grateful little niece, and that
I
was particularly doubtful of the policy of the cocked hat
;
but
I
kept these
sentiments to myself.
Little Em'ly had stopped and looked up at the sky in her enumeration
of these articles, as if they were a glorious vision. We went on again,
picking up shells and pebbles.
"
You would like to be a lady
?
"
I
said.
Emily looked at me, and laughed and nodded "yes."
"
I
should like it very much.
We would all be gentlefolks together,
then.
Me, and uncle, and Ham, and Mrs. Gummidge.
We wouldn't
mind then, when there come stormy weather.-Not for our own sakes,
I
mean. We would for the poor fishermen's, to be sure, and we 'd help 'em
with money when they come to any hurt."
This seemed to me to be a very satisfactory and therefore not at all
improbable picture.
I
expressed my pleasure in the contemplation of it,
and little Em'ly was emboldened to say, shyly,
"
Don't you think you are afraid of the sea, now
?
"
OF
DAVID
COPPERFIELD.
27
It
was quiet enough to reassure me, but
I
have no doubt if
I
had seen
a moderately large wave come tumbling in,
I
should have taken to my
heels, with an awful recollection of her drowned relations. However,
I
said
"
No," and
I
added, "You don't seem to be, either, though you say
you are;"-for she was walking much too near the brink of a sort of
old jetty or wooden causeway we had strolled upon, and
I
was afraid of
her falling over.
"I'm not afraid in this way," said little Em'ly. "But
I
wake
when it blows, and tremble to think of uncle Dan and Ham, and
believe
I
hear'em crying out for help. That's why
I
should like so
much to be a lady. But I'm not afraid in this way.
Not a bit. Look
here
!
"
She started from my side, and ran along a jagged timber which pro-
truded from the place we stood upon, and overhung the deep water at
some height, without the least defence. The incident is so impressed on
my remembrance, that if
I
were a draughtsman
I
could draw its form
here,
I
daresay, accurately as it was that day, and little Em'ly springing
forward to her destruction (as it appeared to me), with a look that
I
have
never forgotten, directed far out to sea.
The light, bold, fluttering little figure turned and came back safe to me,
and
I
soon laughed at my fears, and at the cry
I
had uttered
;
fruitlessly
in any case, for there was no one near. But there have been times since,
in my manhood, many times there have been, when
I
have thought, Is it
possible, among the possibilities of hidden things, that in the sudden
rashness of the child and her wild look so far off, there was any merciful
attraction of her into danger, any tempting her towards him permitted
on the part of her dead father, that her life might have a chance of
ending that day.
There has been a time since when
I
have wondered
whether, if the life before her could have been revealed to me at a glance,
and so revealed as that a child could fully comprehend it, and if her pre-
servation could have depended on a motion of my hand,
I
ought to have
held it up to save her. There has been a time since-I do not say
it
lasted long, but it has been-when
I
have asked myself the question,
would it have been better for little Em'ly to have had the waters close
above her head that morning
in
my sight; and when
I
have answered
Yes, it would have been.
This may be premature.
I
have set
it
down too soon, perhaps. But
let it stand.
We strolled a long way, and loaded ourselves with things that we
thought curious, and put some stranded star-fish carefully back into
the water-I hardly know enough of the race at this moment to be
quite certain whether they had reason to feel obliged to us for doing
so, or the reverse-and then made our way home to Mr. Peggotty's
dwelling. We stopped under the lee of the lobster-outhouse to
exchange
.
.
an innocent kiss, and went in to breakfast glowing with health
and
pleasure.
Like two young mavishes," Mr. Peggotty said.
I
knew this meant,
in our local dialect, like two young thrushes, and received it as a com-
pliment.
2
8
THE
PERSONAL
HISTORY
AND EXPERIENCE
Of course
I
was in love with little Em'ly.
I
am sure Iloved that baby
quite as truly, quite as tenderly, with greater purity, and more disinterest-
edness, than can enter into the best love of a later time of life, high and
ennobling as it is.
I
am sure my fancy raised up something round that
blue-eyed mite of a child, which etherealised, and made a very angel of
her.
If,
any sunny forenoon, she had spread a little pair of wings and
flown away before my eyes,
I
don't think
I
should have regarded it as
much more than
I
had had reason to expect.
We used to walk about that dim old flat at Yarmouth in a loving
manner, hours and hours. The days sported by us, as if Time had not
grown up himself yet, but were a child too, and always at play.
I
told
Em'ly
I
adored her, and that unless she confessed she adored me
I
should
be reduced to the necessity of killing myself with a sword. She said she
did, and
I
have no doubt she did.
As to any sense of inequality, or youthfulness, or other difficulty in our
way, little Em'ly and
I
had no such trouble, because we had no future.
We made no more provision for growing older, than we did for growing
younger. We were the admiration of Mrs.
Gummidge and Peggotty, who
used to whisper of an evening when we sat, lovingly, on our little locker
side by side,
"
Lor
!
wasn 't it beautiful
!
"
Mr. Peggotty smiled at us
from behind his pipe, and Ham grinned all the evening and did nothing
else. They had something of the sort of pleasure in us,
I
suppose,
that they might have had in a pretty toy, or a pocket model of the
Colosseum.
I
soon found out that Mrs. Gummidge did not always make herself
so agreeable as she might have been expected to do, under the cir-
cumstances of her residence with Mr. Peggotty. Mrs. Gummidge's was
rather a fretful disposition, and she whimpered more sometimes than
was comfortable for other parties in so small an establishment.
I
was
very sorry for her
;
but there were moments when it would have been
more agreeable,
I
thought, if Mrs. Gummidge had had a convenient
apartment of her own to retire to, and had stopped there until her spirits
revived.
Mr. Peggotty went occasionally to a public house called The Willing
Mind.
I
discovered this, by his being out on the second or third evening
of our visit, and by Mrs. Gummidge's looking up at the dutch clock,
between eight and nine, and saying he was there, and that, what was
more, she had known in the morning he would go there.
Mrs.
Gummidge had been in a low state
all
day, and had burst into
tears in the forenoon, when the fire smoked.
"I
am a lone lorn creetur',"
were Mrs. Gummidge's words, when that unpleasant occurrence took
place, "and everythink goes
contrairy with me."
"
Oh, it '11 soon leave off," said Peggotty-I again mean our Peggotty
-"
and besides, you know, it's not more disagreeable to you than to us."
"
I
feel it more," said Mrs. Gnmmidge.
It was a very cold day, with cutting blasts of wind.
Mrs.
Gummidge's
peculiar corner of the fireside seemed to me to be the warmest and
snuggest in the place, as her chair was certainly the easiest, but
it
didn't
suit her that day at all. She was constantly complaining of the cold, and
OP
DAVID
COPPERFIELD.
29
of its occasioning a visitation in her back which she called "the creeps."
At last she shed tears on that subject, and said again that she was
"
a lone
lorn creetur' and everythink went contrairy with her."
"
It
is certainly very cold," said Peggotty. "Everybody must feel
it
so."
rc
I
feel it more than other people," said Mrs. Gummidge.
So at dinner; when Mrs.
Gummidge was always helped immediately
after me, to whom the preference was given as a visitor of distinction.
The fish were small and bony, and the potatoes were a little burnt. We
all acknowledged that we felt this something of a disappointment; but
Mrs.
Gummidge said she felt it more than we did, and shed tears again,
and made that former declaration with great bitterness.
Accordingly, when Mr. Peggotty came home about nine o'clock, this
unfortunate Mrs.
Gummidge was knitting in her corner in a very wretched
and miserable condition. Peggotty had been working cheerfully. Ham
had been patching up a great pair of water-boots; and
I,
with little
Em'ly by my side, had been reading to them. Mrs.
Gummidge had never
made any other remark than a forlorn sigh, and had never raised her eyes
since tea.
"
Well, Mates," said Mr. Peggotty, taking his seat,
"
and how are you
?"
We all said something, or looked something, to welcome him, except
Mrs. Gummidge, who only shook her head over her knitting.
"What's amiss," said Mr. Peggotty, with a clap of his hands.
"
Cheer up, old Mawther
!
"
(Mr. Peggotty meant old girl.)
Mrs.
Gummidge did not appear to be able to cheer up. She took out
an old black silk handkerchief and wiped her eyes
;
but instead of putting
it in her pocket, kept
it out, and wiped them again, and still kept it out,
ready for-use.
"
What's amiss, dame
!"
said Mr. Peggotty.
"
Nothing," returned Mrs. Gummidge. "You've come from The
Wrilling Mind, Dan'l
P"
"
Why yes, I've took a short spell at The Willing Mind to-night," said
Mr. Peggotty.
"
I'm sorry
I
should drive you there," said Mrs. Gummidge.
"
Drive!
I
don't want no driving," returned Mr. Peggotty with an
honest laugh.
"
I
only go too ready."
"
Very ready," said nlrs. Gummidge, shaking her head, and wiping her
eyes.
"
Yes, yes, very ready.
I
am
sorry it should be along of me that
you 're so ready
."
"
Along o' you?
It an't along o' you
!
"
said Mr. Peggotty. "Don't
ye believe a bit on it."
"
Yes, yes, it is," cried Mrs. Gummidge.
"
I
know what
I
am.
I
know that I'm
a
lone lorn creetur, and not only that everythink
goes contrairy with me, but that
I
go contrairy with everybody. Yes,
yes.
I
feel more than other people do, and
I
show
it
more.
It's my
misfortun'."
I
really couldn't help thinking, as
I
sat taking in
all
this, that the
misfortune extended to some other members of that family besides
Mrs. Gummidge. But Mr. Peggotty made no such retort, only answering
with another entreaty to Mrs.
Gummidge to cheer up.
30
THE
PERSONAL
HISTORY
AND EXPERIENCE
"
I
an't what
I
could wish myself to be," said Mrs. Gummidge.
"
I
am far from it.
I
know what
I
am.
My troubles has made me contrairy.
I
feel my troubles, and they make me contrairy.
I
wish
I
did'nt feel 'em,
but
I
do.
I
wish
I
could be hardened to 'em, but
I
an't.
I
make the
house uncomfortable.
I
don't wonder at it. I've made your sister so
all day, and Master Davy."
Here
I
was suddenly melted, and roared out "No, you have'nt, Mrs
Gummidge," in great mental distress.
"
It's far from right that
I
should do it," said Mrs. Gummidge.
"
It
an't a fit return.
I
had better go into the house and die.
I
am a lone
lorn creetur, and had much better not make myself contrairy here.
If
thinks must go contrairy with me, and
I
must go contrairy myself, let me
go contrairy in my parish. Dan'l, I'd better go into the house, and.
die and be a riddance
!
"
Mrs. Gummidge retired with these words, and betook herself to bed.
When she was gone, Mr. Peggotty, who had not exhibited a trace of any
feeling but the profoundest sympathy, looked round upon us, and nodding
his head with a lively expression of that sentiment still animating his face,
said in a whisper
:
"
She's been thinking of the old'un
!
"
I
did not quite understand what old one Mrs. Gummidge was
supposed to have fixed her mind upon, until Peggotty, on seeing me
to bed, explained that it was the late Mr. Gummidge; and that
her brother always took that for a received truth on such occasions,
and that it always had a moving effect upon him. Some time after he
was in his hammock that night,
I
heard him myself repeat to Ham,
"Poor thing!
She's been thinking of the old
'un!" And whenever
Mrs.
Gummidge was overcome in a similar manner during the remainder
of our stay (which happened some few times), he always said the same
thing in extenuation of the circumstance, and always with the tenderest
commiseration.
So the fortnight slipped away, varied by nothing but the variation of
the tide, which altered Mr. Peggotty's times of going out and coming in,
and altered Ham's engagements also. When the latter was unemployed,
he sometimes walked with us to show us the boats and ships, and once or
twice he took us for a row.
I
don't know why one slight set of impres-
sions should be more particularly associated with a place than another,
though
I
believe this obtains with most people, in reference especially to
the associations of their childhood.
I
never hear the name, or read the
name, of Yarmouth, but
I
am reminded of a certain Sunday morning on
the beach, the bells ringing for church, little Em'ly leaning on my shoulder,
Ham lazily dropping stones into the water, and the sun, away at sea,
just breaking through the heavy mist, and showing us the ships, like
their own shadows.
At last the day came for going home.
I
bore up against the separation
from Mr. Peggotty and Mrs. Gummidge, but my agony of mind at leaving
little Em'ly was piercing.
We went arm-in-arm to the public-house
where the carrier put up, and
I
promised, on the road, to write to her.
(I
redeemed that promise afterwards, in characters larger than those in
OF
DAVID
COPPERFIELD.
31
which apartments are usually announced in manuscript, as being to let).
We were greatly overcome at parting
;
and if ever, in my life,
I
have had a
void made in my heart,
I
had one made that day.
Now, all the time
I
had been on my visit,
I
had been ungrateful to
my
home again, and had thought little or nothing about it. But
I
was no
sooner turned towards it, than my reproachful young conscience seemed
to point that way with a steady finger; and
I
felt, all the more for the
sinking of my spirits, that
it
was my nest, and that my mother was my
comforter and friend.
This gained upon me as we went along
;
so that the nearer we drew,
and the more familiar the objects became that we passed, the more
excited
I
was to get there, and to run into her arms. But Peggotty,
instead of sharing in these transports, tried to check them (though very
kindly), and looked confused and out of sorts.
Blunderstone Rookery would come, however, in spite of her, when the
carrier's horse pleased-and did. How well
I
recollect it, on a cold grey
afternoon, with a dull sky, threatening rain
!
The door opened, and
I
looked, half laughing and half crying in my
pleasant agitation, for my mother. It was
not she, but a strange
servant.
"
Why, Peggotty
!"
I
said, ruefully, "isn't she come home
!"
"
Yes, yes, Master Davy," said Peggotty.
"
She's come home. Wait
a bit, Master Davy, and
1'11-1
'11
tell you something."
Between her agitation, and her natural awkwardness in getting out of
the cart, Peggotty was making a most extraordinary festoon of herself, but
I
felt too blank and strange to tell her so. When she had got down, she
took me by the hand
;
led me, wondering, into the kitchen; and shut the
door.
"
Peggotty
!
"
said
I,
quite frightened. "What 's the matter?
"
"Nothing's the matter, bless you, Master Da~y dear!
"
she answered,
assuming an air of sprightliness.
"
Something 's the matter,
I
'm sure.
Where's mama?
"
"
Where 's mama, Master Davy
?
"
repeated Peggotty.
"
Yes. Why hasn 't she come out to the gate, and what have we come
in here for? Oh, Peggotty
!
"
My eyes were full, and
I
felt as if
I
were
going to tumble down.
"Bless the precious boy
!
"
cried Peggotty, taking hold of me.
"
What
is it
?
Speak, my pet
!
"
"
Not dead, too
!
Oh, she's not dead, Peggotty
?
"
Peggotty cried out No
!
with an astonishing volume of voice; and then
sat down, and began to pant, and said
I
had given her a turn.
I
gave her a hug to take away the turn, or to give her another turn in
the right direction, and then stood before her, looking at her in anxious
inquiry.
"You see, dear,
I
should have told you before now," said Peggotty,
"but
I
hadn't an opportunity.
I
ought to have made it, perhaps, but
I
couldn't azackly "-that was always the substitute for exactly, in Peggotty's
militia of words-" bring my mind to it."
"
Go on, Peggotty," said
I,
more frightened than before.
3
2
THE
PERSONAL
HISTORY
AND
EXPERIENCE
"Master Davy," said Peggotty, untying her bonnet with a shaking
hand, and speaking in a breathless sort of way.
"
What do you think?
You have got a Pa
!
"
I
trembled, and turned white.
Something-I don't know what, or
how-connected with the grave in the churchyard, and the raising of the
dead, seemed to strike me like an unwholesome wind.
"
A new one," said Peggotty.
"
A new one
?"
I
repeated.
Peggotty gave a gasp, as if she were swallowing something that was
very hard, and, putting out her hand, said
:
"
Come and see him."
"
I
don't want to see him."
-
"And your mamma," said Peggotty.
I
ceased to draw back, and we went straight to the best parlor, where
she left me. On one side of the fire, sat my mother; on the other,
Mr. Murdstone.
My mother dropped her work, and arose hurriedly, but
timidly
I
thought.
"
Now, Clara my dear," said Mr. Murdstone.
"
Recollect
!
controul
yourself, always controul yourself!
Davy boy, how do you do
?
"
I
gave him my hand.
After a moment of suspense,
I
went and kissed
my mother
:
she kissed me, patted me gently on the shoulder, and sat down
again to her work.
I
could not look at her,
I
could not look at him,
I
knew quite well that he was looking at us both; and
I
turned to the
window and looked out there, at some shrubs that were drooping their
heads in the cold.
As soon as
I
could creep away,
I
crept up-stairs.
My old dear bedroom
was changed, and
I
was to lie a long way off.
I
rambled down-stairs to
find anything that was like itself, so altered it all seemed; and roamed
into the yard.
I
very soon started back from there, for the empty dog-
kennel was filled up with a great dog-deep mouthed and black-haired
like Him-and he was very angry at the sight of me, and sprung out to
get at me.
THE
THEORY
OF
MUSICAL
COMPOSITION
COMPLETELY DEVELOPED,
-
-
-A-
Now ready, small 4t0,
price
16s.,
Cloth Gilt, and Key
5s.,
uniform,
A
PRACTICAL TREATISE
ON
MUSICAL COMPOSITION.
----*
----
--
-
--
-
LONDON-LONGMAN, BROWN, GREEN,
&
LONGMANS.
-
---
---
--
--4-
EXTRACTS
FROM OPINIONS
OF
THE
PRESS.
From
Douglas Jerrold's Weekly New.?paper,
16th
Dec.,
1848.
WE
find from the preface of this work that
it
has been
written by two individuals; the one a German professor of
music the other a literary and, of course a musical gentle-
man df this country: thudthe book has ali the advantages of
German erudition upon the subject, without the objections
which more or less are
the consequences of a translation.
The treatment of the subject commences with scales and
intervals; enters into a full consideration of the derivations,
the nature and employment of chords in harmonic
com-
binations; gives excellent precepts upon rhythmical and
tonal structure; in short, carries the subject on to the con-
struction of elaborate compositions, either instrumental, or
vocal. To give an entire analysis of the manner in
which
this has been done, would far exceed our limits, and any-
/
thing less would convey no adequate idea of the book.
Suffce
it, that the whole has been treated with great care
It
is copious, highly scientific, that
is,
perfectly simple,
grammatical, and, we have no hesitation in saying, it is one
of the most learned books ever written
upon the art. It is
heautifullv eot un. and. considerinn the imnortance of the
knowledge of the subject it professes to teach.
It abounds
in exercises which are worked out
in a key, thus rendering
self-instruction easy, and greatly facilitating the
labour of
the
mastrr. It commences with scales and intervals
develops the nature of chords, and gives copious precepts
fd
their employment. Bhythmical and tonal structure arc fully
considered. In fact, the instruction is carried upwards from
a simple exposition of the first principles of music to the
construction of compositions requiring the most extensive
vocal and instrumental combinations No partial selections
from a work of
this description would afford a just idea of its
merits as a whole We can, however, assert that, though
strictly scientific and grammatical, it is well calculated,
by its
simplicity and clearness, to lead the student to a full mastery
of the science of music. The volume ends with
a double
chorus, the words for which are from the
pen of the author
of
i'Rowland Bradshaw," a work of fiction which we had
sometime ago, occasion to commend for the excellence of
it;
object, and the vigour of its style.
--
subject, dff&ed at
a
pride which shcws that tke authors were
sincere when they talked of music becoming an "essential
part of national education." It concludes with a double
chorus, the words being furnished by
the author of
"
Row-
land Bradshaw," who has evidently a talent for writing to
music. The following may give some idea of the clearness
of the style, although the whole work must of course be
scientifically studied to
be
duly appreciated.
From the Weelcly Dispatch,
24th
Dec,
1848.
The author of this admirable elementary
workis a German
gentleman, who has
had
a long experience in the profession of
music, and he has produced the best practical treatise on the
theory of the art which has ever come under
our notice. The
voluminous works previously issued from
the schools of Italy,
France, and Germany, are certainly too
dSuse and specula-
-
From
the
LUerary Gazette, lGth Dec.,
1848.
A
concise, yet not too concise, and Pull practical expqsition
of the theory of music, has long, we believe, been cons~dered
a desideratum by the musical world; and the diligence and
science of the author appear, at
last, to have supplied the
deficiency in a very satisfactory manner. TO assist the
teacher, and facilitate the studies of those whose genius has
to be self-taught, are the objects he has endeavoured to ac-
complish, and,
as
far as this volume goes, we should say with
skill and success. The instructions and examples are very
clear
;
and we would therefore cordially recommend the
work to the music
fezu'lle
of all our melodious friends.
-
From the Sunday Times, 17th
Dee.,
1848.
Mr.
RShner says, in his preface, that, being a German,
without the necessary knowledge of our language, he bas had
to take the assistance of a gentleman of literary as well as
musical attainments,
by which means all that is known of
the art of
music
is
conveyed to the English student divested
of that crudity and obscurity which too frequently belongs
to
a translation The authors, in stating their reasons for pro-
ducing this work, affirm the necessity of sound training in the
theory as well as the practice of music and they predict that
the day is not far distant when the
'acquirement of music
shall be
an
exercise of the mind, not a mere operation of the
fingers; when it shall rank as an essential part of a national
and liberal education, instead of being held at the cheap
value of a superficial accomplishment. The book has
evidently been written with great care. and
a
thorough
,
tive for the general student
;
and
Rohner has succeeded
in his plan of conciseness, without omitting a single essential
point.
From
the
Court Journal,
30th
Dec.,
1848.
This
work is chiefly intended for amateurs, who wish to
acquire a knowledge of composition
;
and it may be considered
as one of the best treatises of the kind that have appeared in
our language. The author (a German) very modestly
acknow-
ledges his obligation to an English friend who has corrected
his work
in the niceties of ourvernacular;ongue. but he
may
fairly take to himself the credit of having expoun6ed his intri-
cate and difficult subject with a degree of clearness and con-
cision that is not always found in didactic treatises. The
volume contains all that is necessary to facilitate the general
student's acquisition of
a
knowledge
of
musical composition.
Altogether this treatise fills up a gap that existed in musical
literature, and steers most happily between the dry brevity of
a mere
"
hand-hook," and the learned diffuseness of the pon-
derous
tomes indited by German, French, and Italian con-
trapuntists.
Key
to
the
Exercises containedin Rii7mev's Practical Treatise
on
Mwsical Composition.
This short pamphlet
is
a necessary complement to the
"Practical Treatise." We here find
a
repetition of the
examples given (in their incipient state) in the "Treatise,"
with all the parts filled in, so as to enal>le the student who
has no master to guide him to see whether he has
whtten
his exercise correctly; or
to
serve the master as a book of re-
ference, to ascertain when and where the student is at fault.
A
PRACTICAL TREATISE
ON
f
USICAL COMPOSITION.
this conscientious writer.
I/
-
Prom the IZlustrated London
News,
30th Dec.,
1848.
We have received frequent applications from amateurs and
students, to mention the
best standard works on composition,
and
we have recommended the theoretical writings of Al-
brechtsberger, Schueider,
G.
Weber, AbhO Vogler, Choron,
Reicha, Cheruhini, Rameau, &c.. to our applicants; but, for
a lucid compilation of
the principles of the great theorists, we
have searched in vain. The appearance of the volume now
before us will he of the greatest service to the teacher, and of
inestimable value to the student. The work has
the
signature
of a German; hut, in his preface he acknowledges the assist-
ance
'L
of an English gentleman: who was not only a sound
musician, hut of literary attainments." Mr. Rohner regrets
that he is not permitted to publish his coadjutor's name
;
and
this regret will be shared by those readers of the work who
will participate
in
tho value of its principles, as much for
acquiring as for inspiring knowledge. Mr. Rohner commences
with scales and intervals; and then treats of
melody, and its
accentuation according to time and measure. The third
chapter, on harmony and
chordn, is extremely well treated
The hints on the construction of elaborate instrumental com-
positions are
admirablc; and the supplementary chapters on
harmony, in two, three, and more than four parts, and on the
composition of vocal music, are clear and full in explanation,
and the examples well chosen
and appropriate. Much time and
trouble
inay be spared to the pupil who carefully studies this
new treatise, which will he an easy introduction to the more
voluminous works of
tlie great theorists. The work has been
got up with great care, and is printed in large bold type.
-
From
the
Critic,
1st
Jan.
1849.
A
thoronehlv oractical treatise on musical comnosition. or
1
rathe~we~&o;lk sag on the theory of music, foiits compo-
sition is not to be
tnlciht
;
it must come from within. If Mr.
Rihner had
termed it musical
ezpression
he would have been
more strictly correct. for his purpose is to teach the manner
of putting a musical
hea
into the form of music. It is pro-
fusely illustrated, and will, no
doubt, he studied with great
advantage by
composers, whether professional or amateur.
than ever, that the reviewer, upon taking up a new book
such profession, opens it with a feeling bordering
npon prejudice against it, so certain does he feel of once
again meeting with disappointment. It is, therefore, with a
heightened degree of pleasure we place before our readers
a
recommendation of
G.
W.
Rohner's work, for it fulflls its
promise. It is a small quarto volume, containing 156 pages
of letterpress and
music, excellently printed, and has been
corrected with peculiar care, a circumstance of the highest
importance
in
theoretical works. It was our first intention
to have gone into an elaborate analytical review of this
treatise, hut were soon after stopped by finding how much
could he said upon every part, that to do justice to all would
far outrun the space a newspaper can afford for any single
wvork We must, in consequence, content ourselves by giving
it
our hearty recommendation not only to the student in
music, but to the professor.
The first will obtain by its aid
a
vast store of practical information; the latter find things
there set down
in a new light that will at least revive
aIl
he
has before studied, if not create in his mind entirely fresh
views in the application of the science of music.
-
From the Manchester Courier, 13th January,
1849.
This new theory seems to have taken
tlie musical world by
surprise-the London press teeming
with its praise; some
going so far as to assert that it must become the national
manual of
music to the teacher, and more especially to him
who has to toil in the path of self-instruction.
Mr
Rtjhner
is a German, hut has had the assistance of an English literary
and musical gentleman, thus giving all the German erudition
upon the subject, without the crudity and obscurity which
more or less belong to a translation. We are happy in being
able to add our commendation to that of our contemporaries
of the London press; feeling convinced than any work which
will exite a study for the
theory
of music, instead of the nn-
meaning
practice
which we find too often aimed at alone, has
conferred an intellectual boon npon the country-has given
the means for an elevating, a rational, and most desirable
exercise of the mind.
-
From the Morniag Chronicle, 16th Jan, 1849.
Whatever doubt may exist of an absolute necessity for this
production, on account
ofthe paucity or inefficiency of those
which already exist, we nevertheless hope that Mr Rohner's
work will do service to the progress of real
n~usical science
as well as musical taste, in this
country. bv stimulatine
-
11
demand for musical education more sbund and solid-in
From the Morning Herdd, Jan.
8,
1849.
system,
ab Cliitio,
than that which is now but too often
bestowed-a system which, while it may impart a certain
Mr.
Ri5hner publishes this treatise because he believes that
amount of dexterity in execution within a limited ranee. thus
a
practical book upon the theory of music "remained a
furnibhing
the material for
superficial
display befo&
a
par-
desideratum;" that is. there has either heen,
On
the one
tial and probably unskiiled audience, yet often leaves the
hand, too much compression, or, on the
other, too much
pupil, after a five or seven years' course of nominal instrnc-
diffuseness.
"Reflect~on on this," he adds, "grew at length
tion,
with exactly the same amount of knowledge in the true
into a desire to attempt to
supply a work that should at Once
principles of music as at the beginnin&
assist the teacher and render easier the task of those who
LONDON
:
LONGMAN,
BROWN,
GREEN,
&
LONGMANS.
have to toil in the path of self-instruction."
Without coin-
ciding
in the impression that animates Mr. Rbhner
as
to the
general
iinavailable character of the thousand elementary
treatises which have issued from the press, we may give him
the credit
of having produced a very serviceable volume
for
those
who
are
about
to
study the
theoretical
of
the
art,
and there
can
be
no
doubt that it
is
one
of
the
best
in existence as regards pian, development, and illustration,
The
letter-press
,,,hich
accompanies
the
chapters
is
the
tribution
of
an
who,
possessed
of
the
requi-
site knowledge, aided the author in completing the wish that
the work should be brought out in this
country.
~h~
text
thus supplied is clear and pertinent, and though copious in
its
details, exhibits no
ostentatious
verbosity, while the
tech-
nical spirit which necessarily pervades the elucidations is
ably defined
to
meet the inquiries
of
the uninitiated.
~h~
rules
are
well enforced
a
key
to
which
is
printed
in a separate volume.
-
From
the Lady,s
paper,
IBth
January,
1849.
So many practical treatises on musical composition con-
tinue to appear, all professing to accomplish the same end,
namely, to make that which has hitherto been deemed
diE-
cult or obscure, easy and clear, hut generally leaving the
reader in the end more perplexed and in
deepex obscurity
/
-
From the Mor9aing Post, 25th Jan.,
1849.
BIr,
n8hner,s purpose,
in
publishing
this
work,
has
been
to
supply the musical student with
a
compendium of theoretical
instructions, in which, whilst avoiding the
diuseness and
speculativeness of the larger treatises, no branch of the suh-
ject should
be left unnoticed, or insufficiently explained. 1n
this we think he has succeeded. His book unites the quali-
ties of perspicuity and conciseness, and is evidently the work
of One Competent to teach, and thoroug~ conversant with
the labours of those who have preceded him. Evolving no
fanciful theorieq hut plainly and sensibly setting forth the
pflnclples of musical composition as received by the majol?ty
of professors, this treatise
wilt no doubt be very gellerally
studied
and approved The exercises recommended by ~r.
for the adaptation of hamonies to a given melody
are excellent; the remarks on rhythm and the tonal struo
ture of a musical composition very felicitous. The con-
struction of elaborate compositions, preceded by
a
chapter of
figurate writing, is the last matter treated of; observations on
the composition of vocal music being added in the form of
a
supplementary chapter. We may add, that a key to the
exercises is published with the work, and, in conclusion,
are
happy to recommend it to the attention of all those who are
desirous of acquiring a practical knowledge of the principles
of musical composition
Now
Publishing,
in Monthly
Numbers, Price
ONE
SHILLING
each,
THE
JOURNAL
OF
DESIGN,
"We last month had the pleasure of welcoming the
first appearance
of this periodical, and of noticing the
promise of utility which
it
held out. An examination
of the contents of the present number confirms the
favourable opinion we then expressed, and we would
again commend the publication to the notice of all who
are interested in the cultivation and spread of decora-
tive art.
. .
.
.
We shall certainly be much mistaken if
THE
JOURNAL
OF
DESIGN (supposing it to be continued
as it has commenced) does not give a lively impulse to
every description of manufacture on which decorative
art can be brought
to
bear."--MidZanrl Counties Herald,
SEcoNn NOTICE.
"
The manner and tone of
THE
JOUBNAL
OF
DESIGN
ADDRESSED
TO
MERCHANTS, MANUFACTURERS, RETAIL DEALERS, DESIGNERS,
AND ART-WORKMEN.
--
THE
JOURNAL
OF
DESIGN will have, as it ought to have, politics of its own.
In this
matter of Ornamental Design
we
hope to prove ourselves thoroughly conservative of the
best interests of manufacturers, designers, and all parties concerned.
We are the
cates for better laws and a better tribunal to protect copyright
in designs, and for a
largely increased extension of copyright. We think the restless demands of the public
for constant novelty are alike mischievous to the progress of good ornamental art as
they are to all
comnlercial interests. We think that the Schools of Design should be
reformed and made husiness-like realities. We shall wage war against all pirates; and
we hope to see the day when it will be thought as disgraceful for one manufacturer to
pillage another's patterns as it is held to be if he should walk into the counting-house
and rob his till. These are some of the points of our political creed, with which we start
on our undertaking. In conclusion, we profess that our aim is to foster ornamental art in
all its ways, and to do those things for its advance, in all its branches, which it would be
the appropriate business of a Board of Design to do, if such a useful department of
Government actually existed.
The
following Testimonials, among others, to the practical value of tl~e Work,
have
been already received
:-
are good, the editor's resources appear to he consider-
able, and some novel features in the undertaking can-
not fail to arrest attention strongly. The introdoction
of actual patterns of manufactured fabrics strikes one
at first as a somewhat daring innovation, a too obvious
introduction of literature to trade; hut it is found, on
examination, to be in no respect out of place, but in-
"It
is matter of surprise to us, as it has no doubt
been to others, that no periodical of the
kind should
have been established in this country; for althongh
decorative art has received incidental notice in various
journals, it has not received that complete and syste-
matic consideration which its national value m a
com-
meroial
point of view demands. THE
JOURNAL
OF
DESIGN, therefore, if it isconducted upon the principles
described by
its
conductors in their opening address,
can
hardly fail to he very extensively acceptable, as
supplyingoneoftheohviouswants
of the day. The pre-
sent part, making the allowances claimed for
it
as a
first appearance, gives promise of substantialutility, the
fulfilment of which we shall have pleasure in recording
from
time
to
time,
as
the
sueoessive
come
underournotice.
.
. .
THE
JOURNAL
OF
DESIGN is pnh-
lished
at
a
price
which will place it within the reach of
all
who
are
interested
in
its
contents,n-~idlard
Counties Herald.
deed suitable and useful in every
way."-Examiner.
"
The objects of THE
JOURNAL
OF
DESIGN, a nlonthly
periodical, are directly practical. To the so?-disant
connoisseur ~ts tone and aim rnav savour too much of
of the subject. We anticipate that, whilst it may thus
hecorne a good circulating medium for new ornamental
designs, it may be also ancillary to the diffusion of just
taste."-Advocate, or Irish Industrial
Jourr~al.
''This is
the first number of a monthly magazine
which bids fa.5 to become of vast utility to towns like
Nottingham, where the staple trades depend so much
upon elegance and newness of design. The illustrations
in the part before us are very numerous and extremely
good.
. . . .
These illustrations are accompanied by
thirty-two
pages of letterpress-and all forashi1ling."-
Nottinghaml~ire Guas.dian.
"Manufacturers who wish any new fabric noticed
have
Only
to
send
as
much
to
the
Office
as
be
swatch ill each copy of the journal. The literary as
well
as the artistical part is well got up, and the jour-
nal deserves the patronage of the admirers of the fine
and useful
arts.--Glasmw Examiner.
the trade-its insertion, wheneve; practical, of absolute
patterns of textile fabrics or printed paper-hangings,
may startle Fine
Ad
nerves with its air of a mercer's
pattern-hook; hut the tone
of
writing 1s healthy and
independent, and its criticism
on the patterns reviewed
I
are characterisad by judgment and artistic knowledge
'
"
Tlte letterpress
i.i
~.i.,~fusel,v illtistrate<l rvitli wood-
cot.;.
The
work appenvj I~ktl,i to I>e
uf
-rrvit.e
it,
yru-
~ncrtir~: the gruath of
r3,rc."--tiL~,,~~~ti.
L~,t~diluli~)tul.
"It is with feelings of genuine pleasure that we wel-
come the appearance of another journal devoted to the
important subject of decorative art. In THE JOURNAL
OF
DESIGN we observe one characteristic feature not
contained in any other work occupying a similar field
of operation. Besides woodcuts of ornamental designs,
such as have been long made familiar to our readers
in
the pages of the Art-Journal, the work before us is an
actual pattern-book. We have the very textures and
fahrics themselves before us."-Shfleld Times.
"The sample number of a new periodical, devoted to
a review of ornamental design and art-manufactures.
It promises to be a well-conducted work, and the pat-
terns and numerous
illustrat~ons which accompany lt
will render it of utility to manufacturers, artists, and
designers."-Bristol Mercury.
"This is a monthly magazine upon a novel and what
appears to be an excellent plan.
To conduct such a
work effectively, an abundance of illustration is neces-
sary, and this magazine
1s distinguished by its cantain-
ing actual patterns; thus showing the fabric as well as
the design, and giving practical men a far better idea
than any engraving could possibly do. The contents
of
the magazine are of a varied character.
. . .
.
This
new publication, indeed, appears to he calculated for
great
utility."-hiewcasfle Courant.
[Turn
over.
THE
JOURNAL
OF
DESIGN.
Contents of No.
ADDRESS.
Xebiela of Vatterns.
ON
THE
MULTITUDE OF NEW PATTERNS.
WOVEN
FABSICS. Chintoes, printed for Hindley and
Sons; and
Halling, Pearce, and Stone.
Also for
Clarkson.
Flannel,
printed
by Swaisland, for R. Andrews.
Swiss printed Cottons, for Faulding and Co.
Calico for Bookbinding, printed for Bone and
Son.
SILK.
Coventry Ribbon, made for
Harding, Smith,
and Co.
Tapestry, made by Keiths, for
J.
Webb.
CARPETS, manufactured by Morton
;
also by Pardoe,
Hoomans, and Co.
RUG, manufictured by Watson, Bell, and Co.
METALS. Bracelet, manufactured for Hunt and
Roskill, W. and D. Gass,
&c.
Two Epergnes, designed and made by W. Potts.
Chandelier, manufactured by Messengers, for the
garden-pavilion in ~uckinjjham Palace.
Double Candlestick. manufactured by Messengers.
Urn, manufactured
by Warner and sins.
PAPER-HANGINGS. French Paoer-hanainas, imported
"
-.
.
by W. B. Simpson.
Cheap English Paper, sold by W.
R.
Simpson.
WOOD.
Potato Bowls, carved by Philip and Wyone,
W. G. Rogers, and the Wood-carvlng Company.
POTTERY. Statuette, "The Distressed Mother."
Statuette, "Dancing Girl."
Statuette, "Prince of Wales, in a sailor-boy's cos-
tume."
Statuette,
"
The Cornish Wife at the Well of St.
Keyne."
Vase, manufactured by Copelands.
Two Spill Cases manufactured by Wedgewoods.
OysterTuband
dish,manufacturedbyWedgewoods.
Jugs, manufactured by Copelands, by Ridgways,
and by Mintons.
Potted Hare-not. manufactured bv Covelands.
I.
for March
1849.
Xebiela
of
lpatterns
(continued).
GLASS. Flower Vase, Wine Glass, and Finger-Glass.
MISCELLANEOUS. Book-Cover to Songs,
&c.
driginal qpapers.
COPY~IOHT
IN
DESIGNS.
,
MIXTURES
OF
STYLES.
Books.
Original Treatises dating from the 12th to the 18th
Centuries. on
{he Arts of Painting, &c. Trans-
lated by
~rs. Merrifield.
A Booke of Draughtes. By Henry Shaw.
The Illustrated Companion to the Latin Dictionary
and Greek Lexicon.
By A. Rich.
Byrne's Euclid. Printed in Colours.
Enstitutions.
History of the Constitution of the "Government"
School of Design and its Proceedings.
Lecture on Ornament delivered to the Students of the
London School of Design. By W. Dyce, R.A.
Meetings of Edinburgh and Leeds Schools of Design.
Commons' Report on
Scbool of Design
;
Changes In
Masterships in Schools of Design
;
Williams's
Paver on
Desian at Colleae of Freemasons of the
ChLrch.
-
Third Exhibition of British Manufactures at the
Societv of Arts.
Qlable tJa1i.
1
Denrefiatinn in the Value of Woven Fabrics
;
Blue
&.
..-~
.-~-.
-- - -
and White Jasper Ornaments; Printed Manu-
factures depressed; Her Majesty's Bridal Dress;
Tapestry Carpets
;
Beauclerc
u.
Copeland.
Mouldings in Glass
;
Fine Arts Commission's Report.
CormsponDence.
Infringement of Copyright in Jennens and Bettridge's
Trays-Is there an International Copyright
in
Models?
.
,
".
WlTH TEN PATTERNS OF FABRICS AND PAPER-HANGINGS, AND THIRTY
ENGRAVINGS ON WOOD.
Comrnvnications,
&c.,
to be addressed
to
the Editor
of
THE
JOURNAL
OF
DESIGN,
at the Publishers.
LONDON: CHAPMAN AND HALL,
186
STRAND
;
Contents of No.
TI.
for
April
1849.
Xebieb, of qpatferns.
/
nebiela of lpatterns
(continued).
SOLD
BY
J.
MENZIES, EDINBURGH;
T
MURRAY, GLASOOW
;
J.
M'GLASHAN, DUBLIN; H. MANDEVILLE,
PARIS;
SIMMS
AND
DINHAM, MANUHESTER
;
BOHAIRE, LYOXS: LEBRUMENT, ROUEN
;
C. MUQUARDT, BRUSSELS;
AND
ALL
BOOKSELLEBS.
London :-Printed by G. Barclay, Castle St. Leicester Sq.
METALS. Prince Albert's Design.
Hunt and Roskiil's Dish.
Coalbrookdale Iron Castings, Eagle-Slayer,
LC.
Stuart
&
Smith's Door-Porter; I'ierce's Pyro-
Pneumatic Stove-Grate.
Smith,s
Pistol
and
Gun
;
Pott,s
Flower
-
Stand;
Broadhead and Atkins' Tea and Coffee Service.
WOVEN FABRICS.
Walters' Silk Brocatelles.
Aspect of the Month's
Narket for Garment Fabrics.
Mousselines de Laine,
by Inglis and Wakefield,
Partridge and Price,
J. and
A.
Crocker.
Koechlin's Swiss Cambrics.
Adam's Flax Damask; Odier's
Brilliantes.
Cox,s Ribbon;
Stone
and
Kemp,s,
and
Spitalfields Silks.
Norwich and Honiton
Lace.
Printed
Carpet;
Holmes,
Wilton Velvet
Carpet.
Henderson's Patent Tapestry, and Templeton's
Axminster Table-Covers.
Macalpin's Chintz.
PAPEE-FIANGINGS. Jackson and Graham's French
Bed-room Paper; Simpson's Paper for Pictures;
Potters' Cheap Paper.
GLASS. Messengers' Flower
-
Glass; Richardsons'
Decanter; Faraday's Alboni Lamp Shade.
Osler's and Pellatt's Candelabra.
Pellatt's Claret Jug and Glass.
POTTERY. Mintons' Greek Slave, and
Maternal
Devotion.
Copelands' Salt Cellar
;
Wedgewoods' Ewer
;
Printed Breakfast Cup; Water-lily Jug.
Roses' Dinner Plates; Mintons' Match-box.
@riginal ?papers.
On Ornament, especially referring to Woven Fabrics.
~~~k~.
Layard's
;
Chapman's
znstitutions.
Exhibition at Society of Arts.
Manohester Exposition.
ManChester Church Teachers' Institute.
Schools of Design.
Dyce's Lecture on Ornament
(continued).
Mutual Instruction Class at School of Design.
Wornunl's Lecture
;
Potter's Wheel
;
Female School.
gable 8aKL.
Committee on Laws affecting Arts; Twist Lace
;
Success of Registration of Copyright; Andrew
Kinloch
;
Mlntons' Mosaics at Osborne
;
Terra
Cotta at Osborne
;
Jelly from Ivory-Dust
;
"
Fallings through the Gridiron
;"
Invention of
Glass; Co-operation of Manufacturers,
&c.;
Lord Lyndhurst's Mechanical Knowledge.
CTorresponbence.
Sir F. Thesiger on Models from Prints; Short
Copyright for Silks; Pirates;
&c.
WlTH THIRTEEN PATTERNS OF FABRICS AND PAPER-HANGINGS, AND FORTY
ENGRAVINGS ON WOOD.
I
ANALYSIS
OF
THE
NAME
OF MOSES
&
SON.
IT
is not a little interesting to notice the many recommendatory nouns and adjectives which bear as their
!
initial characters the letters composing the name of MOSES
&
SON.
For instance
:
the letter
'&M*
at
once reminds of
(M)atchless (M)ake and (M)agnificent (M)aterial.-The letter
"
0
"
is displayed in
(0)ut-and-(0)ut (O)vercaats, (0)btainable (0)pposite the Church.-The letter
"
S
"
is
the initial
character of the words
(S)trength, S)martness, (S)tyle, and (S)uitability.-The letter
L6E"
will
be
found in (E)ronomy, (E)uellence, [P)gnity, (E)xchange, and (S)o on.
The
A"
in the conjunction whispers of (A)dmirable (A)rticies (A)dapted to (~)11.-~~~," in the
same word, will show itself in
(=)one so (N)oted as this (N)otorious (=)sine in trade.-The letter
"D
lS
calls to mind (D)urable (D)ress, (D)elicate (~)esign, and (D)ispatch.
The word SON, it is true, furnishes us with the very same letters as we have just pointed
out;
but,
notwithstanding, there will be no difficulty in finding new footsteps to tread in.
A
(S)lap-up (S)uit, for instance, at once gives us the letter
"S
"
over again
;
as
do also the words
(S)howrooms, (S)hawls, (S)carfs, (S)ilks, (S)atins, (S)hifts, and (S)o forth.-The character
"0,"
again, speaks of (O)utfits, (O)xonians, and (0)ther similar article~.-~'W," in eouclusion, appears in
(Nleatness, (N)icety, and (N)eglect in (W)othing,
at
the celebrated House of that Firm whose name
has been thus truthfully analysed.
LIST
OF
PRICES.
Peady
made.
I
Made
to
Measure.
Men's Spring and Summer Wrappers, from
The
Bulwer, Pacha, Paletot, and every
descrlptlon of Light Overcoat
.
from
f
Cloth Overcoats of a light Texture, and
handsomely trimmed
.
from
f
Ditto Ditto lined with Siik
'
. .
from
Ditto Ditto superiorqnality
.
-
Jean and Holland Blouses
.
.
.
,
-
Fancy Victoria Ditto
.
.
.
.
-
Tweed Ditto
.
.
.
,
-
Dresscoats
.
.
.
. . .
-
Frock Ditto
. . .
.
. . .
-
Spring and Summer Trousers
. .
.
-
Doeskin and Buckskin Trousers
.
.
-
Spring and Summer Vests, in every varlety-
Black and Figured Satin Vests
.
.
-
Ditto superior quality
.
. . .
-
White Marcella Vests
. .
.
,
-
Black Cloth Ditto
.
.
.
. .
-
Boys' Hussar and Tunic Suits
.
.
.
-
,,
Spring and Summer Vests
.
-
Men's Fishing Coats. in every variety
.
-
P
8.
a.
0
8
6 Paletots, made from a variety of materials,
fitted for Summer wear
. .
from
)
O
la
Do.
in every style, elegantly trimmed from
Supeffine Cloth Ditto, of a light
temtur;
-
Ditto Ditto lined with Silk
.
.
,
-
1
8
o
Ditto Dress Coat
.
. .
.
.
-
.
-
. ..
6
Best
itt to
-
.
for
9
Superfine Frock iitto'
.
'
.
*
.
'
.
from
0
Best Ditto
.
.
.
.
.
.
.
for
6
Fancy Doeskin Trousers
. .
.
from
0
Black Ditto Ditto
. .
.
,
-
0
Best Ditto Ditto
.
,
. .
-
0
BlackClothVests
.
.
. . .
-
6
Best Ditto
.
.
.
for
6
Splendid Satin ~itio
'
.
.
,
from
6
Best Ditto Ditto
.
. . .
.
for
6 Hussar and
Tunic Suits
.
.
.
.
-
6
Snper6ne Ditto
s
.
..-
6
Men's White Marcella Vests
.
.
.
-
0
Fishing Coats, in endless variety, from
0
1Os.6d.
. .
. .
.
.
to)
0
Elegant Dressing Robes, in great variety.
from 16s.
.
.
.
.
.
to]
LIVERIES
OF
ALL
KINDS
AT
TIfE
SHORTEST NOTICE.
MOURNING TO ANY EXTENT AT FIVE MINUTES' NOTICE.
A
Suit
of
Clothes
complete
for
$1
10s.
The New Book, entitled
"
The Great Fact," with full Directions for Self-measurement, can be had on
application, or forwarded, post free, to any part of the kingdom.
No~xce.-The Shawl and Parasol Departments are now replete with every novelty of the Season.
OBSERVE.-Any Article purchased, either Ready-made or
Made
to Measure, if not approved of, will be
exchanged, or the money returned.
E,
MOSES
&
SON,
TAILORS, WOOLLEN DRAPERS, CLOTHIERS, HATTERS, HOSIERS, PURRIERS,
BOOT AND SHOE MAKERS, AND GENERAL OUTFITTERS,
154,255,156,
and
157,
Minories
;
and
83,84,
85,
and
86,
Aldgate,
City,
tondon.
ALL
COPMUNICATING
WITH
EACH
OTHER,
AND
FORMING
ONE
VAST ESTABLISHMENT.
CAVTION.-E MOSES
&
SON regret having to guard the public against imposition, but having heard
that the untradesmanlike falsehood of being
connected with them, or it is the same concern, has been
resorted to in many instances, and for obvious reasons, they beg to state they have no
connexion withany
other House in or out of London, except their branch Establishments,
36,
Fargate, Sheffield, and
19,
Thornton's Buildings, Bradford, Yorkshire
;
and those who desire genuine and cheap Clothing, &c., should
call at or send to Minories
and Aldgate, City, London
;
or to the Branch Establishments as above.
TAKE NOTICE.--This Establishment
is
closed from sunset Friday, till sunset Saturday, when business
is
resumed till
12
o'clock.
BESIDES the above Patented Article of Dress (called
THE
NIUOLL), there
is
another Novelty introduced for this Season, which is, however, Registered under the
name of NICOLL'S MORNING COAT, it being especially intended for morning
wear, in riding or walking exercise, when it necessarily avoids the stiff formality to
be
observed in the cut and form of the dress-coat.
The price is
TWO
GUlNEAS.
.--
The
premises
(extending
from
114
to
120, Regent Street),
as
illuminated
in honour
of
Her
Majesty's
and
the Prince's
Birthdays.
THE REGISTERED PALETOT is now ready for the Spring Months,
with
all
the new and patented improvements, included
in
the moderate price of Two
GUINEAS.
Thus it deservedly bears the name of being not only the most fashionable,
but also the cheapest and most durable garment ever offered to the public; the
intrinsic value of the material known as NICOLLIAN, or
LLAMA
CLOTH, being,
within the last few months, much enhanced
;
the same durability being retained,
with an increased fineness
and beauty
in
appearance. It can be seen, ready for
immediate wear, in every size, at the Patentees' Warerooms.
-
--.
-
--
--
BRADBURY
Ah'D
EVANS,
PRINTERS, WHITEPRIARO.